Concert Review – Godsmack & Volbeat (Canadian Tire Centre, Ottawa, ON, 05/10/2019)

And the city of Ottawa was more than ready to rumble with two of the best bands of the modern Hard Rock and Rock N’ Roll scene.

OPENING ACT: Stitched Up Heart

Although my drive from Toronto to Ottawa on Thursday was a complete shit due to the nasty rain and all the trucks spraying tons of water on my windshield, that didn’t turn my energy level down not even a bit for the concert that was about to happen on Friday. I was really pumped to see what’s probably the best modern Rock N’ Roll bands available out there, the almighty Volbeat and the incendiary Godsmack, kicking some serious ass on stage at Richcraft Live (I honestly have no idea what that name means) at the Canadian Tire Centre. It was my first time at that venue and I must say it’s indeed a great place to watch a concert or a sports event, but unfortunately getting there is not that easy unless you drive, take a taxi or Uber to the venue, which ends up inflating the parking costs considerably.

Anyway, fans were still arriving at the venue when Los Angeles-based Hard Rock act STITCHED UP HEART began their short but effective performance, spearheaded by the beautiful Mixi on vocals. If you have no idea about what type of music Stitched Up Heart play, let’s say it’s a fusion of the contemporary Hard Rock played by Godsmack with Evanescence and Marilyn Manson, and the final result is very entertaining. It was a beyond solid warm-up for the main attractions of the night, and a very good welcome card from the band to us fans of rock music here in Canada, as I don’t actually remember seeing them anywhere around here before this tour opening for Volbeat and Godsmack. In other words, go to their official website for more information about the band, where they’re playing, where to buy their music, and so on, as those guys (and girl, of course) are definitely worth a shot.

Setlist
This Skin
Warrior
Catch Me When I Fall
Darkness
Straightjacket
Finally Free
Lost (feat. Sully Erna)

Band members
Mixi – vocals
Merritt – guitar
Randy – bass
Decker – drums 

VOLBEAT

After a short break, and with the Canadian Tire Centre already occupied by thousands of fans from different parts of Canada and the United States, it was time for Danish rockers VOLBEAT to bring to Ottawa their undisputed Rock N’ Roll infused with Heavy Metal nuances, proving once again that Copenhagen-based quartet is not one of the biggest names in the current Rock N’ Roll scene in vain. Still promoting their 2016 album Seal the Deal & Let’s Boogie, but just about to release a brand new album (for our total delight), the band comprised of Michael Poulsen on vocals and rhythm guitar, Rob Caggiano on lead guitar, Kaspar Boye Larsen on bass, and Jon Larsen on drums set the venue on fire with their fast and melodic riffs and beats, and of course, endless electricity (despite the fact that Mr. Poulsen was visibly fighting some sort of cold or flu).

From the first few notes from the excellent The Devil’s Bleeding Crown to the closing moments from the already classic Still Counting, Volbeat delivered what’s expected from them, inspiring all fans from the floor section to ignite some fun (and furious) circle pits, especially during their most metallic songs such as A Warrior’s Call, 16 Dollars, Doc Holliday and Seal the Deal. Also, I think I’ve already mentioned this before, but it’s always impressive to witness how powerful and precise Mr. Caggiano is on the guitar, elevating the band’s sonority to new heights since entering the band in 2013. In addition, one song that I was extremely happy they played was Hallelujah Goat, one of my favorite Volbeat songs of all time due to its energy and heaviness, potentialized by Rob’s amazing technique and feeling. And before I forget, the band also played a brand new song for the first time ever in Ottawa, the 40-second Punk Rock tune Parasite, which albeit being extremely short it was well received by all fans who were paying attention at the moment, because you know, 40 seconds are not enough not even for a quick bathroom break. In a nutshell, I know that I just saw Volbeat live and that I’ll see them again with Slipknot, Gojira and Behemoth soon here in Toronto, but they’re so good live I cannot wait, and besides, their concerts are never long enough for them to play all of their classics.

Setlist
The Devil’s Bleeding Crown
Lola Montez
Sad Man’s Tongue (with Ring of Fire intro)
A Warrior’s Call / I Only Want to Be With You
Let It Burn
Black Rose
Parasite
16 Dollars
Dead but Rising
Fallen
Hallelujah Goat
Marie Laveau
Doc Holliday
Seal the Deal
Still Counting

Band members
Michael Poulsen – vocals, rhythm guitar
Rob Caggiano – lead guitar
Kaspar Boye Larsen – bass guitar
Jon Larsen – drums

GODSMACK

It was close to 9:45pm when the lights went out, a fun mashup of classic rock songs started playing from the amps, and finally GODSMACK hit the stage with their unique mix of Alternative Rock and Heavy Metal. I confess I don’t think their 2018 album When Legends Rise is one of their best efforts to date; quite the contrary, it’s relatively weak compared for example to their previous album, the fantastic 1000hp, released in 2014, but Sully Erna and his henchmen are so amazing in what they do they managed to turn all of the songs they played from their new album, those being When Legends Rise, Say My Name, Unforgettable, Under Your Scars and Bulletproof, into truly amazing moments of their performance. By the way, as explained by Sully during the concert, inspired by their own song Under Your Scars, Godsmack have recently founded The Scars Foundation to help raise awareness of the mental health issues that so many are faced with today. Needless to say, donate and show your support to such important and noble cause.

Getting back to the concert, I have to say that even if they played bad music the whole thing would still have been at least great, as all the fire and other special effects on stage added a lot of energy to their performance. But, of course, Godsmack do not play bad music, and fantastic songs like 1000hp (my favorite of the night), Cryin’ Like a Bitch and Whatever put a huge smile on the faces of every single fan watching their concert. Furthermore, there were three very distinct moments that let’s say “surprised” most fans due to their uniqueness, those being their dark and enthralling performance of their all-time hit Voodoo, the interesting Batalla De Los Tambores (or “battle of the drums”, if you know nothing in Spanish) between Sully and the extremely talented drummer Shannon Larkin, and the Rock N’ Roll party established on stage when Rob Caggiano and the entire Stitched Up Heart joined them on stage for a cover version of AC/DC’s classic Highway to Hell.

In the end, after Godsmack played their heavier-than-hell hit I Stand Alone, all fans left the Canadian Tire Centre extremely satisfied, hoping the band doesn’t take another abysmal time to return to Canadian soil. On the other hand, if you live in Canada and missed Godsmack, I feel really sorry for your soul. A band like that is always busy, always touring the world, and they don’t have a lot of empty spot to fill out with Canadian dates. Well, don’t cry like a bitch if you missed it, simply stay tuned to their upcoming tours and do like the rockin’ citizens from Ottawa, whenever you hear the words “Volbeat” or “Godsmack”, put on your black shirt, you leather jacket and get ready to rumble like there’s no tomorrow with one of the best and most electrifying bands of the not-so-new generation of rock and metal music.

Setlist
When Legends Rise
1000hp
Say My Name
Keep Away (Moon Baby Outro)
Cryin’ Like a Bitch
Awake
Unforgettable
Something Different
Voodoo
Batalla De Los Tambores
Whatever

Encore:
Under Your Scars
Bulletproof
Highway to Hell (AC/DC cover)
I Stand Alone

Band members
Sully Erna – vocals, guitar
Tony Rombola – lead guitar
Robbie Merrill – bass
Shannon Larkin – drums

Interview – Anthony Kaoteon

In this exclusive interview, Lebanese vocalist and multi-instrumentalist Anthony Kaoteon talks about his brand new project Death Tribe, his already established band Kaoteon, and his always delicate connection to the Middle-East.

Anthony Kaoteon (Kaoteon, Death Tribe)

The Headbanging Moose: Let’s begin with a very simple question, and that is who’s Anthony Kaoteon? When did you begin your life in metal music, and who influenced you the most to follow that path?

Anthony Kaoteon: I am a Lebanese kid who grew up at the end of Civil War, witnessed the Syrian occupation, the religious hatred of my countrymen, the bombs in the streets of Beirut, the Israeli mass airplane attacks on the country to mention a few big events that scarred me as a child and made me realize that the world is blind and needs someone loud enough to hear the truth.

THM: What’s your goal with Death Tribe, and what’s the main difference from your already established band Kaoteon? Can you tell us more about the story behind Death Tribe and the reason for the band’s name?

AK: Death Tribe is more of a personal project where I am experimenting with Metal genres. It is not a side project but it has no restrictions or limitations as it has no genres, not one vocalist or one sound. The only restriction is me as the only fixed member in the band but working with new musicians opens my mind and allows me to explore areas I would have never explored otherwise. If I was a polyamorous guy, then KAOTEON would be my lover and Death Tribe my date.

Album Review – Death Tribe / Beyond Pain And Pleasure: A Desert Experiment (2019)

THM: Regarding your brand new album Beyond Pain and Pleasure: A Desert Experiment, how was the recording process of the album? Did everything go as planned, and do you think the final result sends the message you had in mind to the listener?

AK: The recording process was very lengthy, expensive and time consuming especially that it was recorded in several regions and studios around the world. The biggest impact on sound were the mixing engineer – namely Karim Sinno from The Audioloft in Lebanon. He brought everything together and kept it crystal clear.

THM: Beyond Pain and Pleasure features an array of excellent guest vocalists such as Walid Wolflust, Serge the Slave, Adnan Mryhij, Youmni Abou el Zahab and JM Elias. Apart from Walid Wolflust, who sings for your other band Kaoteon, are they all your personal friends? How did you invite each one of them to sing in the album?

AK: They are all personal and close friends of mine who have their great bands and I wanted to promote their sound through mine while promoting my sound through theirs. We come from a very talented region that is undiscovered and deserves much more support.

THM: My favorite songs from Beyond Pain and Pleasure are the title-track Beyond Pain and Pleasure, Neurotic Breakdown and Nuclear Hate. I personally think they’re very powerful and rebellious, which I believe is what you want the listener to feel while listening to the album. Having said that, what song from the album better represents yourself and your never-ending fight for freedom?

AK: That is the beauty of an album like BP&P, every person will have a different favorite. I enjoy Hollow, BP&P and Implode Explode a lot but this varies every now and then. The overall sound of the album is rebellious so I surely wanted that but what I really wanted is to deliver an eclectic album that brings all genres together under one record.

Anthony Kaoteon (Kaoteon, Death Tribe)

THM: I’m pretty sure the metal scene in the Netherlands, your current home, is a lot more developed than in your homeland Lebanon. Are there any bands you would recommend from the Dutch underground scene?

AK: I am still not very active in the scene due to a lot of shit happening in my personal life that I will not discuss but the bands here are very talented. I see a huge stoner metal movement. I cannot chose one band top of mind as it wouldn’t be just but there is definitely a lot of bands to check that won’t disappoint.

THM: Now talking about your connection to Lebanon and the Middle-East, how harmful do you think the combination of religion and politics is in that region not only to metal and non-metal music, but to all forms of art? And do you see an end to that in the future?

AK: It is detrimental and I am afraid I don’t see an end to it anytime soon. It is a deeply rooted plague that is still being nourished by the west to control its masses and use it when and where needed.

THM: Do you think one day you’ll be able to return to Lebanon and start making metal music again there? And what do your family and friends that are still in Lebanon think of the type of music you play?

AK: Most people don’t know what is metal unless they like it and play it. We live parallel lives so that we don’t get judged. I don’t see myself returning to Lebanon to play music any time soon.

Album Review – Kaoteon / Damnatio Memoriae (2018)

THM: What’s next for Anthony Kaoteon? Can we expect a new Kaoteon or Death Tribe album in a not-so-distant future, and do you have any plans for touring with any of your bands around Europe or in North America? I would love to see either Kaoteon or Death Tribe performing in Canada.

AK: For touring, KAOTEON is the horse of choice and we are releasing the 3rd album soon hopefully as we finished the recording with Adrian (Erlandsson) from At the Gates on drums and Linus (Klausenitzer) from Obscura on bass again. The mixing and mastering were finalized by Tue Madsen in Denmark at Antfarm Studios and the artwork is getting ready with Vincent Fouquet in France.

THM: Thanks a lot for your time, Anthony! It’s always a pleasure interviewing relentless musicians like you who keep the underground metal scene alive and kicking. Please feel free to send a final message to our readers, and anything else you would like to say to all fans of heavy music out there.

AK: Thanks a million for the opportunity to speak and promote the music Gustavo. People like you keep the dream alive and I hope you will keep it up. As for the readers and music lovers, if you want bands to keep making music – support them!

Links
Kaoteon Facebook | Instagram | YouTube | BandCamp
Death Tribe Facebook | Instagram | YouTube | BandCamp

Album Review – Xenoblight / Procreation (2018)

A precious gem of Progressive Thrash and Death Metal made in Denmark, courtesy of an up-and-coming horde that’s more than ready to take the entire world of heavy music by storm.

Hailing from Silkeborg, a small city located in the middle of the Jutlandic peninsula in Denmark, here comes a new Extreme Metal horde that goes by the powerful name of Xenoblight, playing a multi-layered fusion of Progressive Thrash and Death Metal characterized by an intense and blistering atmosphere, while at the same time maintaining an apathetic and melancholic lyrical universe. Although the band is relatively new to the scene, being founded in the beginning of 2017, Xenoblight spent the following year carefully crafting their first record while playing only a limited number of shows before entering the studio, unleashing now in 2018 their debut opus Procreation.

Featuring an obscure and stylish artwork by Fendie Art, Procreation not only brings forward in its ten unrelenting and totally demolishing tracks what the band comprised of the she-demon Marika Hyldmar on vocals, Rasmus Tobias Clemmensen and Mikkel Jepsen on the guitars, Steffen Hagelskjær on bass and Thomas Halborg Madsen on drums is capable of, but it’s also a lesson in how to blend the best elements from old school and modern extreme music with tons of progressiveness and feeling, turning it into a must-have for any diehard fan of the music by renowned bands such as Behemoth, Cattle Decapitation, Gojira, Kreator, Skeletonwitch and Fleshgod Apocalypse, among several others.

In the intro Procreation the band offers the usual “calm before the storm” until they come crushing like a bulldozer in Descension, a crisp and modern display of Progressive Death Metal with a lot of punch where Marika begins gnarling the song’s lyrics in a beyond devilish way (“Behold our entitled savior / Spreading knowledgeable fumes / Binding hands with a single glance / Beredied for a stance… / …Entering the mortal realm / With stricts holds of selfproclaimed victories free from shame”), also showcasing a fantastic job done by Thomas with his piercing beats and fills. And Steffen Hagelskjær kicks off the dark tune Shapeshifter with his menacing bass, with the music morphing into a flammable hybrid of Thrash and Death Metal where Rasmus and Mikkel slash our ears with their heavy and metallic riffs.

Obsidian Chromatism is a traditional Progressive Death Metal creation where the entire band fires sheer aggressiveness, building the perfect stage for Marika and her demonic growls; whereas in the song that carries the band’s name, Xenoblight, we’re treated to three minutes of piercing sounds and nonstop beats and fills in a demolishing instrumental voyage, with highlights to the scorching guitar riffs by Rasmus and Mikkel. Then without giving us a single second to breathe Xenoblight keep blasting pure evil through their instruments in Nocturnal Manifestations, a frantic, furious and superb display of modern-day Thrash and Death Metal led by the enraged screams by Marika, with Thomas once again sounding brutally amazing on drums while Rasmus and Mikkel are bestial with their solos, followed by Transcendence, where a whimsical start morphs into another explosion of contemporary and vibrant Thrash and Death Metal, sounding like a hybrid between Exodus and Death. Moreover, Marika takes her insanity to a whole new level, making it the perfect opportunity for cracking your spine in half into the circle pit.

Kill Yourself. brings less than a minute of pulverizing Blackened Thrash Metal by the band, and even with such restricted amount of time in their hands they were capable of delivering a fun and electrifying tune, setting the stage for the full-bodied Predominance, led by the classic shredding by the band’s guitar duo. Furthermore, in this bold and thrilling 6-minute ode to devastation, Thomas not only is a beast on drums but the complexity of his beats is outstanding and, needless to say, Marika once again kicks us in the head with her hellish roars. And an instrumental start warms up the listener for the rabid harsh growls by Marika in the closing song Virus, perhaps the most progressive of all tracks, showcasing thrashier-than-hell, austere lyrics (“Delusional pesticides / Stand asunder / Tributing their gods / Keepers of the luminescent humanoid pollution”) in a display of first-class European Extreme Metal, also bringing gripping guitar lines and an extremely crisp drumming.

You can take a very good and detailed listen at this precious gem of Danish extreme music on Spotify, and follow the band on Facebook and on YouTube to keep up to date with all things Xenoblight. And in order to show your proper support not only to the band but to underground metal in general, you can purchase Procreation directly from the band’s BandCamp page or Big Cartel (as a regular CD version or as a CD + shirt bundle), as well as from iTunes or from Amazon. Xenoblight are set to take the world by storm with their incendiary debut opus, and if you consider yourself a true fan of extreme music you must have such incredible album on your hands. Because in the end, if you don’t buy it, I guess Marika and her henchmen will have to pay you a not-very-pleasant visit, if you know what I’m saying.

Best moments of the album: Shapeshifter, Nocturnal Manifestations, Transcendence and Predominance.

Worst moments of the album: None.

Released in 2018 Independent

Track listing
1. Procreation (Instrumental) 1:01
2. Descension 4:37
3. Shapeshifter 5:35
4. Obsidian Chromatism 4:46
5. Xenoblight (Instrumental) 2:57
6. Nocturnal Manifestations 6:58
7. Transcendence 5:16
8. Kill Yourself. 0:52
9. Predominance 6:22
10. Virus 5:31

Band members
Marika Hyldmar – vocals
Rasmus Tobias Clemmensen – guitar
Mikkel Jepsen – guitar
Steffen Hagelskjær – bass
Thomas Halborg Madsen – drums

Album Review – Hexis / Tando Ashanti (2017)

Behold the epitome of Blackened Hardcore offered by a distinct Danish act, channeling pure darkness throughout 40 minutes of doomed sounds and noises split in 11 obscure compositions.

Hexis (ἕξις), a Greek word important in the philosophy of Aristotle (and because of this a traditional word of philosophy), is a relatively stable arrangement or disposition, for example a person’s health or knowledge or character. However, since 2010 the word has also been used to describe a distinct band from the city of Copenhagen, in Denmark, playing a mix of Hardcore and doomy Black Metal and singing about topics such as nihilism, anti-Christianity and abstract thought. Across their history, the band has played over 300 shows in the United States, Canada, Japan, Cuba, Russia, the UK and all over Europe, showing how appreciated their unique and obscure music is worldwide.

Following the success of their first full-length album Abalam, from 2014, as well as many other EP’s, demos and split albums released through the years, Hexis return with their second full-length installment, titled Tando Ashanti, the epitome of Blackened Hardcore channeling pure darkness in the vein of Celeste and Oathbreaker and the start of an almost year-long worldwide tour for 2017, released through Halo of Flies in North America and Alerta Antifascista Records in Europe. Furthermore, Hexis are one of those bands where informing their lineup is definitely an item of very low importance to them, which means the names featured on this review might not be accurate. What seems to be their current lineup is Filip on vocals, Victor Kaas on guitars, Luca Mele on bass and Tommaso Rey on drums, but if these names are somehow incorrect I apologize for that. Anyway, it’s the music that really matters, don’t you agree?

Distorted sounds and an apparent lack of hope permeate the air in the intro Tando, when we’re suddenly attacked by Hexis in Ashanti, with the lancinating riffs by Victor together with the demented beats by Tommaso creating a beyond belligerent atmosphere perfect for the irreligious lyrics growled by Filip (“Faithless. But yet you pray in hope that your nightmares will disappear, that these images will leave your head, leave your mind. Tied into anxiety, tied into hopelessness. Surrounded by flies, surrounded by thousands of eyes. Faithless. God is not here today.”). Molestus also begins in full force, a visceral amalgamation of heavy sounds and piercing noises by Filip and his crew, with highlights to the crude riffs by Victor and the rhythmic drumming by Tommaso; whereas Ritualis, albeit following a similar pattern, sounds sharper and more aggressive, which in the end boosts its impact on the listener, not to mention its old school Black Metal riffage and endless obscurity as its main ingredients.

Calamitas represents brutal devastation in the form of music, blending the most violent elements from Black Metal, Hardcore and Neocrust in a fantastic spawn of extreme music by Hexis, with the vocals by Filip sounding extremely demented; followed by Nocturnus, where heavier-than-hell riffs are quickly joined by frantic drums in another brutal creation. Moreover, their sonic havoc suddenly gives place to a slow-paced Doom Metal-ish musicality led by the low-tuned bass by Luca Melo, but all hell breaks loose again for our total delight. And it looks like Hexis mastered the art of crafting bold and devilish songs with less than three minutes like what we face in Opacus, presenting more of the band’s austere lyrics (“As shadows it passes by, creating what is his, taking what was yours. Purging the body, the body of the heartless. Immerse them, immerse the victims, immerse all life, the fragile souls. The shadows they pass, purging the souls.”). Can you imagine this song with a dark orchestra in the background? I can, and just the idea is already beyond awesome.

Cordolium, the longest of all tracks, comes crushing with a hurricane of distorted guitar sounds, slow and menacing beats, and the vociferations of Filip, and that negativity and despair goes on for the song’s six obscure minutes, growing in hostility until its resonant ending, which builds an instant connection with the demonic Resurrectio, with Filip being accompanied by only an eerie background noise and a few isolated beats. In the end, it’s just noise and feels a bit like filler, albeit it makes some kind of sense when put together with all other songs from the album. Luckily, in the belligerent Septem the band gets back to a more Hardcore sonority, delivering modern Black Metal riffs with progressive drumming and hellish gnarls, not to mention the guitars by Victor which are a demonic work-of-art. And ending this eccentric spawn of blackened sounds we have another intense creation named Praesagium, showcasing an amazing job done by Tommaso with his intricate beats, all the malignancy flowing from Filip’s grasps, and a truly Stygian ending in one of the most complete and visceral of all songs.

There are so many places where you can buy your copy of Tando Ashanti in different formats I might have forgotten a few of them on my list, but here we go anyway. You can get the album at Hexis’ BandCamp, at the Alerta Antifascista Records’ BandCamp, at the Init Records’ BandCamp or webshop, at the Halo of Flies’ BandCamp or webshop, at the Bloated Veins’ Big Cartel, on Amazon or at Discogs. Tando Ashanti might be considered by many the most complete, detailed and obscure work by Hexis to date, which is something I have to agree with. I don’t recall listening to such piercing and multi-layered Blackened Hardcore before, and let’s hope Hexis keep taking their aggressiveness and creativity to new heights for many years still to come.

Best moments of the album: Ritualis, Calamitas, Opacus and Praesagium.

Worst moments of the album: Resurrectio.

Released in 2017 Halo of Flies/Alerta Antifascista Records

Track listing
1. Tando 2:16
2. Ashanti 5:24
3. Molestus 2:37
4. Ritualis 2:46
5. Calamitas 1:59
6. Nocturnus 4:58
7. Opacus 2:24
8. Cordolium 5:54
9. Resurrectio 2:27
10. Septem 2:31
11. Praesagium 5:28

Band members
Filip – vocals
Victor Kaas – guitars
Luca Mele – bass
Tommaso Rey – drums

Interview – Andreas Slocinski (Stone Cadaver)

Andreas Slocinski, the talented bass player for Danish Stoner Rock/Metal power trio Stone Cadaver, talks to The Headbanging Moose about the band’s brand new album Reject Remove Replace, their passion for the music from the 70’s and all things metal, and the flourishing metal scene in Denmark, among other topics, in one of our most interesting interviews ever.

Andreas Slocinski (Stone Cadaver)

The Headbanging Moose: Could you please introduce yourselves to our readers? Who are Stone Cadaver, how was the band formed, what’s your goal with your music, and any other details you want to share with us about the band?

Andreas Slocinski (Stone Cadaver): Stone Cadaver is a Danish stoner metal threepiece from Aarhus, Denmark. The gentlemen that wield the instruments and compose the music are Anders Bech Nielsen (guitar and vocals), Jesper Hauptmann (drums) and yours truly, Andreas Slocinski, on bass. The band’s history is relatively short, so it’s easy to sum up. Stone Cadaver rose from the ashes of Chosen Legacy, a metal cover band that featured all of us. It was fun and all, but eventually we all got fed up with playing other people’s stuff, so we decided to abandon Chosen Legacy and start focusing on writing our own material in an attempt to satisfy our creative need. That was back in 2014. Chosen Legacy was all about thrash and groove metal (we played songs by Pantera, Slayer, even Cannibal Corpse), but none of us were interested in writing that kind of music, and, as it turned out, we all harbored a secret desire to play some dirty, 70s inspired stonerish metal, so we just said to each other, “hey, let’s give it a shot and see what happens”, and started jamming on a few riffs. The first song we wrote was “Black Magick” off the self-titled EP, and things just started growing from thereon. As for the goal or purpose of Stone Cadaver, well, it’s just to have a good time and write some cool music. We don’t plan to make a living from it, we’re too old for that now, but the idea of creating music and performing it under the moniker of Stone Cadaver, a beast that’s totally our own creation, appeals to us very much, and it’s definitely a cool way to spend your spare time.

THM: How was the writing and recording process of your new album, Reject Remove Replace, and what’s the main difference between it and your debut self-titled EP from 2014?

AS: RRR differs musically from the EP in a lot of ways, although there are also a lot of similarities. The EP is more doomy and, perhaps, slightly more metal overall. RRR is more dirty and fresh. We have always tried, though, to mix the 70s with more modern elements to create some varied music, and although RRR is more varied than the EP that whole idea of mixing newer and older stuff in an effort to create some exciting material that stays interesting to the listener throughout, is sort of the red thread that runs through all our compositions. I am into bands like Electric Wizard and I always to try to get some really heavy, slow stuff into the stew. Anders digs bands like Led Zeppelin and Deep Purple and likes to add faster paced stuff akin to those bands to the recipe. The end result is almost always a compromise and thus amalgamation of all those things, heavy, doomy elements coupled with faster parts. Naturally, all of us love Black Sabbath, and the mantra WWBSD (What Would Black Sabbath Do?) act as a sort of litmus test if we’re stuck in a song and don’t know how to finish it or get from one part to the next. Ah, that might be a stretch, but Sabbath are very important to all of us and most definitely act as a shared key inspiration. The album was recorded over a week or so at our old rehearsal space, which we shared with another band, Magnified Eye, probably one of the oldest Danish stoner bands. Torben Egebjerg, lead singer and guitarist in the ol’ Eye, recorded and produced the songs in collaboration with us. A guy named Michael Larsen, who’s been part of the local music scene as a booker and all-round technical guy for many years, helped us get the sound of the instruments just right for the recording. The album was then mixed by Stefan Krey, who also plays in Magnified Eye. He has another band, Alkymist, which is a new name on the Danish metal scene. It’s progressive doom metal and very cool. Definitely worth checking out! Lastly, the album was mastered by James Plotkin. We chose him, because he worked on Electric Wizard’s “Time To Die”, so if he’s good enough for the Wizard, he’s good enough for us. A very helpful and cool guy!

THM: In our review for Reject Remove Replace, we quoted a sentence from you stating it’s a concept album, with the concept being “a unified, musical whole”. Can you elaborate more on that? Why do you consider it a concept album? What’s the main storyline that guides the album from start to finish?

Album Review – Stone Cadaver / Reject Remove Replace (2017)

AS: It’s true that we call it a concept album, but it’s not a concept album in the sense that there’s an overarching storyline or theme guiding everything. Albums from the 60s and 70s are often as good as they are, because a lot them work as albums. Today, there’s a tendency to just slap a bunch of songs together without really paying much attention to how they work in relation to each other and the album as a whole. We wanted to create an album that really works as an album, and not just a collection of songs. To this effect, RRR was actually only intended to be released on vinyl, because we “designed” it for vinyl, and because vinyl, at least as far as we are concerned, is a superior way of enjoying an album. An example of what we mean when we say that it was designed for vinyl is the small instrumental interlude “Ruins In The Sand” at the end of side A, a short, atmospheric piece with acoustic guitars. This segment is very different from the preceding and following songs, which have a lot more bang for the buck. “Ruins” was placed at the end of side A very intentionally. As you know, once the A-side is finished, you have to lift the vinyl, flip the disc over and lower the pickup in order to start the B-side. While you’re doing this, there’s obviously no music playing. “Ruins” ends softly, so you could argue that it actually segues into the musical void that accompanies the lifting and flipping of the disc. Likewise, the B-side also ends on a soft note with the instrumental piece “Omega”, which is part 2 of the song “Dead Horses, pts. I & II”. The soft endings of both sides create unity and bind both sides together nicely, we think. This obviously doesn’t work as well on the CD. Combined with the varied nature of the rest of the songs themselves, the album, as a whole, has the feel of one those good albums from the 70s. That’s the intention, anyways. Hopefully, there are people out there who have picked up on it.

THM: The official video for the opening track of the album, the heavy and groovy Sscum, is in my humble opinion really entertaining, just like those old low-budget, catchy-as-hell horror and suspense movies from the 70’s and 80’s. Can you tell us more about the story behind the song and how you decided to shoot the video? Will there be a sequel for it?

AS: We’re glad you like the video and that you dig the 70s low-budget vibe, because that kind of vibe was exactly what writer/director Ulrik Haenschke was aiming for. The lyrical content of the song and the storyline in the video actually have nothing in common. The song is about neo-nazis and how fucking stupid they are, but it wasn’t important to us or Ulrik that the video dealt with that topic at all. Ulrik was involved in the video for Magnified Eye’s “Legion”, which was done very professionally and we all liked it, so Anders chatted him up at a concert, and, as it turned out, Ulrik was interested in doing a video for “Sscum”. He had heard the song at one of our gigs and, basically, wrote the entire script in his head right there on the spot. For some reason, he envisioned this psycho redneck in a really cool car who picks up a hot blonde that he brings home to kill in a twisted, misguided attempt to get back at his girlfriend, who left him because he cheated on her. A pretty simple plot, but very effective nonetheless. The entire process was one of those things where everything just came together very smoothly. Ulrik wrote the script, consulted with us, auditioned the actors and procured all the equipment, lamps, cameras etc. He’s attending some sort of film school and he did the video for a project, which enabled him to use all the equipment for free. Otherwise, it would have been an extremely expensive shoot. The camera alone, a Red which is the same kind of camera used by Peter Jackson on “The Hobbit”, costs between 60-80,000 CAD, so if we had had to rent it, it would have been costly. We also got hold of the car, a ‘69 Torino, for free (thank you Susan!). The video was shot over the course of two weekends in a barn close to Aarhus. The exterior shots were also done not too far away. Ulrik then spent a few weeks editing the material and in late 2016 we were able to premiere it at a local hard rock and metal bar. It was a fun and drunken night. There’s no plan for a sequel, but, you know what, none of us has thought about making one, and it might actually just be a very cool thing to do. Let’s see what happens …

THM: Talking about heavy music made in your gorgeous homeland Denmark, the average metalhead usually knows only the classic metal by King Diamond and Mercyful Fate, and more recently the hybrid of metal and rock by Volbeat, but no other Danish bands are part of his regular playlist. With that said, how’s the current Heavy Metal scene in Denmark? Is the scene getting stronger, with new bands booming all over the country, or do you feel it’s stagnated like in many other countries?

AS: The metal scene in Denmark is alive and thriving. It may not be booming per se, but it’s definitely not on the decline. Denmark is a small country, but we have a lot of metal festivals, Copenhell, Aalborg Metalfestival, Metal Royale, Metal Magic to name some of the bigger ones, and there are metal concerts in almost all Danish cities, big and small. That being said, it’s not always easy to land gigs, for some reason. You really have to put a lot of effort into landing gigs and it’s boring work.

THM: Which new bands from Denmark do you recommend to our listeners? It can be in the same Stoner Metal and Rock vein as Stone Cadaver, or any other style like Black Metal, Metalcore or Power Metal. How bright do you think the future is for those bands?

AS: There are loads of Danish bands. Some cool names to check out are the curly haired troupe of death metal jugglers in BAEST. They are definitely on the rise, and will probably make it big. Bersærk is another band who also enjoys a lot of success. They sing in Danish and call their music “hedningehegn”, which is a pretty cool, self-invented word for “pagan noise” (that’s probably what comes closest). Alkymist, as mentioned before, are definitely also worth checking out as are Magnified Eye. Currently, there’s talk of a New Wave Of Danish Black Metal spearhedead by bands such as Myrkur, Solbrud and Orm. They are also very worthy of your attention, if black metal is your thing. An older black metal band, or black n roll, is Horned Almighty, which you may have heard of. Smaller interesting names include Disrule, Fusskalt, Drön, ThunerWhip, Impalers and Fordærv.

Stone Cadaver

THM: In regards to your influences and idols in music, what would be your top metal or even non-metal artists and albums, the ones that have a strong influence in the music by Stone Cadaver, that helped shape your musicality and fuel your creativity?

AS: As previously mentioned, Ozzy-era Black Sabbath is a major shared influence. On a more individual level, Anders always cites Alice In Chains and Jerry Cantrell as some of his key influences. “Dirt” ranks really high on his personal list of faves as does Deep Purple’s “Fireball”. Jesper is in love with Iron Maiden and Satyricon. Frost’s drumming in particular on “Nemesis Divina”, one of Jesper’s top favorite albums, has had a major impact on his playing as can be heard on RRR. My own main influences include Geezer Butler, Steve Harris and Jaco Pastorius and some of my all-time favorite bands include Electric Wizard and Pink Floyd. All of us dig all kinds of metal and rock, though. It’s important to listen to a lot of music, when you’re in a band, so we try to keep our minds and ears open.

THM: What about your current tour dates to promote Reject Remove Replace? How have the concerts been so far? In addition, as the summer is considered “festival season” all over Europe, have you guys been able to play any major or even smaller festivals, and if so, how was the experience? Did you play alongside any of your music idols in any of those festivals?

AS: We actually haven’t played a lot of gigs in 2017 so far. We played three in May and we don’t have anything planned until October. Jesper recently became a dad for the first time, so that naturally put a dampener on things, but we’re slowly starting to get the gears grinding again. The 2017 gigs we’ve played so far, however, have been cool. We played the inaugural Children Of The Sun festival in Copenhagen, two days of stoner, doom and space rock. We shared the stage with bands such as Dead Witches, Yuri Gagarin and Dopelord. We opened the second day to a rather small crowd and the sun was baking through some overhead windows, so it was not the easiest of gigs, but it was fun and we had a swell time afterwards, drinking with some of the other bands. Dead Witches in particular was a fun crowd to hang with and we would love to meet with them again at another festival or concert at some point. In October we’ll play Copenhagen again with Drön and French band Dot Legacy. We are working on landing gigs for 2018 and so far things are looking bright.

THM: What’s next for Stone Cadaver after the Reject Remove Replace tour is over? As Stoner Rock and Metal is a type of music widely appreciated in North America and in the UK, do you have any plans to further explore those regions in a not-so-distant future with perhaps a combined tour with a well-established band?

AS: We have started writing material for a new album, but it’ll be some time before we’ll get to record anything. The album will be fucking killer! As for touring outside of Denmark, that’s definitely something we’d love to do. There are no plans yet, though, but hopefully, one day, we’ll get a chance to go on a smaller tour abroad with some other bands. As previously stated, we handle all the booking ourselves, so putting together a “world tour” would be quite taxing. A booking agency might be worth considering at some point, but right now that’ll have to wait.

THM: Thanks a lot for your time, we really appreciate that. Please feel free to send a final message to our readers in Canada and all over the world.

AS: Thanks for taking your time to read this interview. Remember to keep the underground alive and support the bands you like by buying their albums and not downloading them.

Links
Stone Cadaver Facebook | YouTube | Instagram | BandCamp

Album Review – Stone Cadaver / Reject Remove Replace (2017)

Proudly raising the flag of Stoner Metal high in their beautiful homeland, this Danish power trio delivers a catchy, raw and filthy album inspired by the amazing Hard Rock and Heavy Metal of the 70’s.

Old school proto-metal guitar and gritty, distorted bass combine with fat, organic drums to concoct an evil gumbo of dirty 70’s-inspired stoner riffs, topped off with a few pinches of catchy doom grooves that is bound to fill that empty hole in your stomach. If none of that makes sense to you, it’s because you don’t know Danish Stoner Rock/Metal power trio Stone Cadaver, a band formed in 2013 in the city of Aarhus, Denmark that’s all about heavy and groovy Stoner Metal set within a compositional framework inspired by the Hard Rock and early metal of the 1970’s. Mixing the likes of Pentagram, Black Sabbath, Deep Purple and Electric Wizard in their music, the power trio comprised of lead singer and guitarist Anders Bech Nielsen, bassist Andreas Slocinski and drummer Jesper Hauptmann Christensen has finally released their debut album, entitled Reject Remove Replace, an album that was, for all intents and purposes, recorded live in the studio, beautifully crystallizing the band’s raw and filthy sound.

As a whole, Reject Remove Replace comprises the band’s most focused material to date, as explained by Anders. “We have tried to create an album like in the old days. You know, one that you’ll want to listen to from beginning to end. In this regard, you could call it a concept album, the concept being a unified, musical whole.” Despite not being a regular concept album like what several other bands usually do, what Anders says about Reject Remove Replace somehow makes sense, because instead of telling the story of a battle, a specific moment in the history of mankind or a fantasy story based on a book, Stone Cadaver tell the story of the album itself through their music. And if not even after reading all this you have any idea of what Stone Cadaver are, simply listen to the music found in Reject Remove Replace and take your own conclusions about the band and their acid musicality.

The initial riff by Anders in the opening track, titled Sscum, sets the tone for the entire album, being sluggish, dirty and raw. It takes us on a journey back to the 70’s, with Jesper delivering precise heavy beats during the whole song, while its lyrics are as demented as possible (“Misguided cause / On a course to nowhere / The snapping jaws / Of a beast with walleyed stare / You wear the signs / Of genocide and minds’ decay / The six straight lines / You’re so eager to display”). In We Need Your Fucking Blood, Andreas begins smashing his bass mercilessly, emanating a rumbling metallic sound, before the music evolves to a potent blend of Stoner Metal and Rock N’ Roll also presenting soulful guitar solos and a thunderous atmosphere. Moreover, Anders not only kicks ass with his crude riffs, but he also thrives with his psychedelic vocal lines.

Suffer The Scorn brings forward more whimsical words by Stone Cadaver (“The problem is you seem to forget / That time is what you make of it / It’s possible to carve it up / And take command to an extent / But it’s not your fault / Life’s so tough, you can’t help it / To reverse the failure / All I have to do is break the mould”), enhanced by the song’s headbanging, pounding rhythm led by Jesper, while Anders and Andreas keep slashing their strings beautifully. Then we have the instrumental bridge Ruins In The Sand, where acoustic guitars and sharp bass lines warm up the listener for the rockin’ anthem Hands Of Death, with the power trio being simply on fire, blasting cutting riffs and solos, low-tuned bass punches and intricate beats nonstop. Furthermore, the level of acidity and progressiveness in this composition is way above average, with Stone Cadaver providing all that’s needed to break your fuckin’ neck into tiny pieces.

And they still have a lot of Rock N’ Roll fuel to burn, offering the listener more of their piercing Stoner Rock and Metal in Removal Of The Eye, showcasing a high-speed musicality led by Jesper and his unstoppable beats, while Anders and Andreas give a lesson in lunatic guitar and bass sounds. And lastly, Dead Horses (pts. I & II), the longest of all tracks, brings the spirit of a mighty horse inside it,sounding almost tribal at times, with its primeval aura together with the old school Stoner Rock by Stone Cadaver making the whole musical voyage even more interesting. As if the journey wasn’t already crazy enough, the song’s last two and a half minutes are simply a smooth, psychedelic amalgamation of bass and guitar sounds, taking the listener to a different dimension.

Not even the way Stone Cadaver name their instruments is ordinary. Anders is responsible for the “6-String Demonic Vocalizer”, Andreas Slocinski takes care of the “4-String Detuned Low-End Slaughter”, and Jesper is the man behind the “Tactical Assault Battery”, which connects to how crude and visceral their music sounds. If you like to explore the rough grounds of Stoner Metal, Stone Cadaver and their Reject Remove Replace are a highly recommended option, and you can get more details on the band through their Facebook page, listen to their music on YouTube or on Spotify, and grab your copy of the album through their BandCamp page, Record Heaven, Kicktrack Music StoreiTunes or Amazon. And then you might finally understand the purpose of the music by Stone Cadaver, who are definitely raising the flag of Stoner Metal and Rock high in their beautiful homeland.

Best moments of the album: We Need Your Fucking Blood, Hands Of Death and Removal Of The Eye.

Worst moments of the album: None.

Released in 2017 LongLife Records

Track listing
1. Sscum 5:37
2. We Need Your Fucking Blood 6:48
3. Suffer The Scorn 5:16
4. Ruins In The Sand 1:53
5. Hands Of Death 6:32
6. Removal Of The Eye 4:32
7. Dead Horses (pts. I & II) 8:45

Band members
Anders Bech Nielsen – vocals, guitar
Andreas Slocinski – bass
Jesper Hauptmann – drums

Album Review – Gespenst / Forfald (2016)

Four lengthy, atmospheric and lugubrious tracks not recommended for the lighthearted, thoroughly crafted by a brand new Danish Black Metal act that will mercilessly disturb your peace of mind.

Rating5

gespenst-forfald-cover-artHailing from Aarhus, the second-largest city in Denmark located around 190 kilometers northwest of the capital Copenhagen, Black Metal act Gespenst (translated to English as “phantom”) is a fresh and uproarious new project featuring former members of Glorior Belli, Woebegone Obscured and Horned Almighty, among other bands, who together bring forth an atmospheric and ominous fusion of Scandinavian Black Metal with Funeral Doom, adding touches of Dark Ambient to their already eccentric extreme music. And the result of that devilish amalgamation, their debut full-length album entitled Forfald, will definitely disturb your peace of mind.

Forfald is the Danish word for “decay”, and that’s quite the sensation you’ll feel while listening to the album’s four lengthy and disturbing tracks. Listening to Forfald is like witnessing the ruin of mankind, descending into an abyss of anguish and darkness to the sound of the lugubrious music engendered by Gespenst. In its almost 40 minutes of duration, Forfald doesn’t provide any single second of tranquility or happiness, always extracting the deepest fears and most obscure thoughts from the listener. Another important piece of the music by Gespenst is the fact that some of their songs are entirely sung in Danish, a bold move that adds an extra layer of mystery and rawness to their music, enhancing the experience of listening to such somber album.

The blackened guitar lines by guitarist and keyboardist Genfærd kick off the demonic hymn Sorgens Taage, which would translate as “sorrow fog” in English, bursting agony and hatred while lead singer and bassist Galskab fires his devilish growls, increasing the obscurity of such an atmospheric and epic composition. This 9-minute aria brings forward somber Atmospheric Black Metal with hints of Funeral Doom and a sensational darkened vibe, with all the changes in rhythm, ferocity and melody adding an extra taste to it, with the doomed ending led by the sluggish beats by guest drummer Andreas Joen piercing your heart mercilessly. Even slower and more tenebrous, Revelation of Maggots offers the listener old school disquieting Funeral Doom, with highlights to the disturbing lyrics grasped by Galskab (“A sea of worms, in crawling pace / All over me, consumes my face / But I still see, without my eyes / As maggots feast, and hatch to flies”). Furthermore, Genfærd makes sure his guitar emanates grief and harasses the listener’s mind, and despite a few breaks a melancholic rhythm is maintained throughout this damned creation by Gespenst, with yet again a sepulchral ending, this time enhanced by a somber narration and anguished screams in the background.

gespenst-photoMin Sjæl Raadner (Danish for “my rotten soul” or “my soul rots”), the shortest of all tracks, presents an atmospheric and sinister beginning before the band attacks us with their dynamic blend of Black and Doom Metal, where the guitar riffs once again sound dark and harmonious, consequently dragging us to the Stygian world of Gespenst. Put differently, this is a song that can easily become a funeral hymn for lovers of extreme music. And in Life Drained to the Black Abyss we’re treated to 12 minutes of sheer darkness, with a horror movie-inspired intro progressively growing into beautiful Funeral Doom with the beats by Andreas getting sharper than before, feeling like a storm is about to begin in the background while Galskab spews the song’s lyrics about the derangement of the human mind (“My eyes have been eternally fixed / At the spectrum of darkness / A blackened stream of despair / It seems I have always been here”). In addition, when the musicality gets heavier, leaning towards classic Black Metal, it’s time for Genfærd to take the lead and guide the band’s demonic performance, haunting our perverted souls until the song’s obscure conclusion.

In summary, this is another of those albums not recommended for the average listener due to its disturbing level of agony and pain, but if you love that extremely dark side of music I can guarantee Forfald has a lot to offer you. You can take a listen at the entire album HERE, and go check Gespenst’s Facebook page for more details on the band’s current and future plans. And if you want to purchase Forfald, you can do so by visiting the band’s BandCamp page, the Hellthrasher Productions’ webstore and BandCamp page, or the Duplicate Records’ webstore and BandCamp page. This Danish Black Metal group has all it takes to take the underworld of extreme music by storm, with Forfald representing exactly what they are capable of with their instruments in their hands and a lot of darkness in their hearts.

Best moments of the album: Min Sjæl Raadner.

Worst moments of the album: None.

Released in 2016 Hellthrasher Productions / Duplicate Records

Track listing
1. Sorgens Taage 9:04
2. Revelation of Maggots 10:54
3. Min Sjæl Raadner 7:17
4. Life Drained to the Black Abyss 12:14

Band members
Galskab – vocals, bass
Genfærd – guitar, synths

Guest musician
Andreas Joen – drums 

Live musicians
Christian Søgaard – guitar
Andreas Tagmose – bass
Mads Mortensen – drums

Album Review – Volbeat / Seal the Deal & Let’s Boogie (2016)

Seal the deal and let’s boogie to the classy and flammable music by Denmark’s best Rock N’ Roll band of all time.

Rating4

volbeat_seal the deal & lets boogieAfter the release of the highly acclaimed Outlaw Gentlemen & Shady Ladies in 2013, which entered the Billboard 200 in the United States at number nine, topped the charts in Austria, Canada, Denmark and Germany, among others, receiving immediate gold and platinum status in those countries, as well as being nominated for the Grammy Award for Best Metal Performance, many fans started to wonder where Danish Rock N’ Roll rebels Volbeat could go after achieving such a great success. Fortunately for all admirers of good old Rock N’ Roll music, those rockers from the stunning city of Copenhagen are still on top form, strong and sparkling with excitement, releasing now their action-packed sixth full-length album entitled Seal the Deal & Let’s Boogie.

The album is their first not to feature longtime bassist Anders Kjølholm, who left in November 2015 after being responsible for Volbeat’s rumbling tones since the band’s inception in 2001. Despite that significant change in the lineup, all other ingredients we love in the music by Volbeat are present in the entire album, including obviously their thrilling heavy riffs and the inebriate (and sometimes even hard to understand) vocals by frontman Michael Polsen. Add to that the classy contribution of two very special guests, these being singer Johan Olsen (from Danish rock group Magtens Korridorer) and Canada’s own Danko Jones, and the final result is exactly what every fan of Volbeat could expect from such an accomplished band.

The initial riff in the opening track, the hit single The Devil’s Bleeding Crown, is the purest form of Volbeat you can find on earth, as well as pretty much all vocal lines by Michael Poulsen. Born to be a radio hit, this is the type of song that has all aspects necessary to be successful, such as a catchy chorus, electrified guitars and headbanging beats, which can also be found in the next track, Marie Laveau, another classic Volbeat tune, offering the listener some smooth Rock N’ Roll with a nice melody, not to mention the excellent job done by Rob Caggiano with his always fiery solos. For Evigt (which means “Forever” in Danish), is the song to feature Johan Olsen on guest vocals, being the second collaboration between Olsen and Volbeat following “The Garden’s Tale”. It’s definitely not as amazing as their 2007 classic, but still fresh and exciting, with its guitar riffs and solos, together with the Danish parts of the lyrics, becoming the top moments of this solid Rock N’ Roll song.

I never thought I would see Volbeat singing about a topic usually explored by traditional Heavy Metal bands like what we see in the awesome The Gates of Babylon (“Awakening a goddess in the dark / On a stake she’s been hanging like a doll / Tried to reach for the underworld / Had to pass through the seven gates of hell”), a beautiful composition that adds a lot of harmony and groove to the album and consequently to the band’s portfolio, with even the guitar lines sounding more “Babylonic” than usual. And they do not get tired of firing good rock music, this time entitled Let It Burn, a song that all fans of Volbeat will have a good time listening while on the road, with highlights to Michael’s performance with his Johnny Cash-like vocals enhanced by Rob’s powerful guitar lines.

volbeat 2016Black Rose, featuring Danko Jones, is an awesome Hard Rock hymn perfect for being played on the radio as well, where our guest rocker made in Canada adds a lot of stamina to the song with his heavier and deeper voice; whereas the average Rebound,  a cover version for a generic song by American Punk Rock band Teenage Bottlerocket, brings nothing special to the album. Well, maybe if they turned the electricity up a bit the final result would have been a lot better, because it gets really tiring even having only two and a half minutes. Anyway, girls named Mary Jane will definitely fall in love with the power semi-ballad Mary Jane Kelly, very tuneful and pleasant like most of the songs in the album. Furthermore, Jon Larsen might not be the fastest or most technical drummer in the world, but he knows what to do to make Volbeat’s music thrive. On the other hand, Goodbye Forever is by far the worst of all songs, not because of its rhythm or lyrics, but it’s those horrible choir-like backing vocals that join Michael after three minutes that truly annoy me, being too “churchy” for my taste.

At least that boredom doesn’t last long, as Volbeat blast one of the most electrifying of all songs, the Rock N’ Roll hymn Seal the Deal, with its thrilling rhythm, the blazing solos by Rob, and a first-rate old school Volbeat chorus (“I get groovy / Now turn it on and fight / Seal the deal and let’s boogie for a while / Let’s get groovy / Burning out with rage / Seal the deal and let’s do it all again”). In other words, this is surely one of their best new songs to be added to their live concerts. The second cover of the album, Battleship Chains by American Southern Rock group The Georgia Satellites, sounds a lot better, an old rock classic with a southern sonority nicely played by Volbeat, while You Will Know, the second to last song of the regular version of the album, brings forward more melodic rock crafted in Denmark showcasing passionate performances by all members, with Rob stealing the show once again thanks to his amazing solos. And lastly, the heavy and metallic The Loa’s Crossroad offers the listener a more aggressive side of the band, with its resonant bass guitar and especially its bag pipes adding more violence and epicness to the musicality displayed. Additionally, if you buy the deluxe edition of the album, you’ll also get four awesome bonus tracks that live up to Volbeat’s tradition: a one-minute devastation named Slaytan, the North American version of “For Evigt” entitled The Bliss (where the Danish chorus sung by Johan is replaced by Michael singing it in English), a version of Black Rose without Danko Jones, and a live version of The Devil’s Bleeding Crown recorded in Denmark in 2015.

It might take time for some fans to get used to Seal the Deal & Let’s Boogie, mainly because a few of the songs presented in the album sound too “commercial” compared to their old classics, but after a few listens you’ll realize there’s absolutely nothing wrong with the album, it’s simply the Volbeat we all enjoy. Of course, as a huge fan of extreme music, I would love to see Volbeat getting heavier and darker than what they really are in some of their compositions, but it’s undeniable they remain loyal to their roots no matter what, and I respect that a lot. As long as they keep delivering their unique Rock N’ Roll to the world, with Seal the Deal & Let’s Boogie being a very good example of that, I’ll continue to be a happy rocker.

Best moments of the album: The Devil’s Bleeding Crown, The Gates of Babylon and Seal the Deal.

Worst moments of the album: Rebound and Goodbye Forever.

Released in 2016 Vertigo/Republic/Universal

Track listing
1. The Devil’s Bleeding Crown 3:56
2. Marie Laveau 3:13
3. For Evigt (feat. Johan Olsen) 4:44
4. The Gates of Babylon 4:34
5. Let It Burn 3:39
6. Black Rose (feat. Danko Jones) 3:55
7. Rebound (Teenage Bottlerocket cover) 2:29
8. Mary Jane Kelly 5:39
9. Goodbye Forever 4:30
10. Seal the Deal 4:09
11. Battleship Chains (Georgia Satellites cover) 3:21
12. You Will Know 4:31
13. The Loa’s Crossroad 4:21

Deluxe edition bonus tracks
14. Slaytan 0:58
15. The Bliss 4:42
16. Black Rose 3:57
17. The Devil’s Bleeding Crown (Live at Tusindårsskoven, Odense 2015) 4:04

Band members
Michael Poulsen – vocals, rhythm guitar
Rob Caggiano – lead guitar, bass guitar
Kaspar Boye Larsen – bass guitar (live)
Jon Larsen – drums, percussion

Guest musicians
Johan Olsen – additional vocals on “For Evigt”
Danko Jones – additional vocals on “Black Rose”

Concert Review – Behemoth (Phoenix Concert Theatre, Toronto, ON, 04/26/2016)

The Satanist triumphed over Toronto, taking no prisoners in a memorable night of darkness and blasphemy.

OPENING ACT: Myrkur

Blasfemia Amerika Tour 2016Only a couple of weeks after watching Iron Maiden kicking fuckin’ ass in Montreal and Toronto, I knew my next concert had to be beyond amazing to keep the electricity flowing, otherwise I would start yawning during the show and not even a cold beer would wake me up. Fortunately, what I was able to witness yesterday at the Phoenix Concert Theatre here in Toronto together with thousands of other crazy metalheads was a fantastic night of obscure and blasphemous music, as part of the infamous Blasfemia Amerika Tour 2016. From start to finish, the night was absolutely flawless. And we were treated to the darkest and most amazing music we could possibly imagine as a warm-up for Behemoth, offered to us all by the gorgeous and charming Danish multi-instrumentalist and model Amalie Bruun, the mastermind behind the one-woman Black Metal project MYRKUR (or “darkness” in Icelandic).

IMG_1254For obvious reasons, our Valkyrie of Black Metal couldn’t deliver the whole concert by herself, having as a very solid support band guitarist Teloch (Mayhem), bassist Liam (Dillinger Escape Plan) and drummer Øyvind Myrvoll (Nidingr), helping her blast Myrkur’s entrancing music last night. She was responsible for both clean (almost operatic) and harsh vocals, keyboards, rhythm guitar, dancing and more, though. Is there anything she cannot do? Anyway, with stunning compositions like Den Lille Piges Død (“the little girl’s death” in Danish), Mordet (“assassination”) and her flawless version for Bathory’s Song to Hall Up High, Amalie hypnotized the entire crowd, drawing sighs from every single person during the smoothest passages of her songs and inspiring some decent mosh pits during the heaviest moments. If anyone asked me to summarize Myrkur in only a couple of words, I would definitely select “beauty” and “beast”, and you’ll notice she does that personality split herself on purpose, having two microphones during her performance: her right one being used only for clean vocals, while the left one is used for her demonic screaming. Would this be her depiction of the angel on the right shoulder and the devil on the left? Also, almost at the same time she got flowers from a fan and thanked the audience for such an amazing reception, when a guy asked her to play some nonsense song, she replied with a gentle “suck my dick”. Do you want to know more about this angel of darkness? Go check her BandCamp page, where you can listen to everything she’s already released in her promising career.

Setlist
Den Lille Piges Død
Hævnen
Onde Børn (False Start)
Jeg Er Guden, I Er Tjenerne
Mordet
Dybt I Skoven
Skøgen Skulle Dø
Skaði
Song to Hall Up High (Bathory cover)
Norn (outro)

Band members
Myrkur – vocals, piano, guitar
Teloch – guitar
Liam – bass
Øyvind Myrvoll – drums

BEHEMOTH

IMG_1265Finally, one year after their last concert in Toronto, the best metal band in the history of Poland returned with their magnificent Blackened Death Metal to storm the city once again and leave us all completely disoriented when their black mass was over. If a regular BEHEMOTH gig is already outstanding, I have no words to describe what witnessing them playing The Satanist in its entirety followed by some of their biggest classics feels like. Not only each and every song from The Satanist was played to perfection, but the stage was also amazingly set and the theatrical performance by all band members was sensational. I hope no one from those stupid churches ever goes to a Behemoth concert in Toronto, otherwise they might be banished from Canada like it happened with the band in other places.

If Myrkur was the evil queen of the night, the one and only Adam “Nergal” Darski could be considered our hellish king (or should I say priest?), commanding his loyal bandmates and the entire crowd with his refined technique as a guitarist and his trademark growls. I was eager to see the classic Blow Your Trumpets Gabriel live for the first time, and after Nergal appeared holding two torches up high and the music started, I got even more than what I expected. In addition, after each song of The Satanist the band had something different to offer, either being a disturbing video on the background, some extra smoke, dark lighting, or a wicked narration connecting it to the following opus. I’m not even going to say how incredible my other two favorite chants of the album, Ora Pro Nobis Lucifer and the mesmerizing O Father O Satan O Sun!, sounded. You have to be there to feel their fury and darkness.

IMG_1284When The Satanist part of the gig was concluded, Nergal and his horde still had some classics to blast our ears and fuel the insane circle pits that were consuming the entire venue, starting with the bestial Pure Evil and Hate. If anyone lost their lives during the execution of this anthem, I wouldn’t be surprised. Moreover, both guitarist Patryk Dominik “Seth” Sztyber and bassist Tomasz “Orion” Wróblewski seemed to be having a great time during the encores, mainly due to the awesome reaction they got from the fans who couldn’t stop slamming into the pit, and especially during songs like Conquer All and the last one of their setlist, Chant for Eschaton 2000, two high-octane compositions that sound even more powerful live than their already demonic studio versions. Except for the considerable line at the end of the concert for the coat check, everything else was beyond perfect, lefting us all wondering when Behemoth will return to Toronto to take over our beloved city one more time.

Setlist
Blow Your Trumpets Gabriel
Furor Divinus
Messe Noire
Ora Pro Nobis Lucifer
Amen
The Satanist
Ben Sahar
In the Absence ov Light
O Father O Satan O Sun!

Encore:
Pure Evil and Hate
Antichristian Phenomenon
Conquer All

Encore 2:
At the Left Hand ov God
Slaves Shall Serve
Chant for Eschaton 2000

Band members
Adam “Nergal” Darski – lead vocals, guitars
Patryk Dominik “Seth” Sztyber – guitars
Tomasz “Orion” Wróblewski – bass guitar
Zbigniew Robert “Inferno” Promiński – drums and percussion

Album Review – Serpents Lair / Circumambulating the Stillborn (2015)

If you’re one of those black metallers who can only live in darkness to survive the downfall of our putrescent society, this album is for you.

Rating4

serpents lair coverLet’s keep the streak of darkness alive and burning at The Headbanging Moose with yet another nefarious, caustic and sulphurous Black Metal brigade, this time hailing from the blazing fires of Sjælland, a large island that’s part of Denmark and that’s home to the capital Copenhagen and to the city of Roskilde, among other smaller towns and villages. The band in question is called Serpents Lair, and they’re bringing forth their debut full-length album entitled Circumambulating the Stillborn, a series of dissonant and kaleidoscopic Black Metal hymns tailored for diehard metallers who chose darkness as their sanctuary.

Formed in 2013, Serpents Lair already took the underworld of metal music by storm in 2014, when they released their demo named MMXIV. What was already evil in that demo became even more heinous in Circumambulating the Stillborn due not only to the refined production of the new album, which can also be seen on the amazing cover art by Misanthropic-Art Illustrations, but mainly to the advancements in their compositions, putting together a classic Black Metal sonority with the heartache and sorrow of Doom Metal and Blackened Doom.

What starts like an aria at the house of worship, named by the band as Epipháneia, suddenly becomes a Black Metal attack entitled Epistemology of Death, sounding cleaner than usual but still putrid and devilish. This 9-minute opus, which was one of their demo tracks, offers the listener winged riffs and beats interspersed with obscure and sluggish passages, always blustering those desperate growls and howls of dark music.

serpents lair photoThe title-track, Circumambulating the Stillborn, an old school Black Metal tune with piercing riffs and unholy lyrics (“We salute thee harbingers of the end of man / Oh ye true nihilists, bringer of empty chalices / For thou shalt be the error correcting itself / As thouest thirst to death / In denial of the nothing you bring”), sounds diabolically mesmerizing especially when it slows down; while Mortui Vivos Docent presents an ominous and ritualistic intro before morphing into a profane mass, displaying a demonic musicality with aggressive vocals and fiendish riffs. Furthermore, it never gets too heavy or too fast, just vile enough to disturb our minds from start to finish.

If you thought things couldn’t get more doomed, Serpents Lair bring you an outstanding ode to torment named The Serpentine Gnosis. It is Blackened Doom breathing sulfur from the pits of hell, with its killer drumming and possessed roars only making things even more gripping. And after an eerie instrumental tune named Dwelling on the Threshold to Tartarus, the band burns our souls with the amazing Devouring Wrathe, an ancient form of Black Metal with the album’s high-end production intensifying its blasphemous words (“Spare no praying man, / As he is not of glorious potential / Invite the odious omnipotence / To descend with divine purpose / Let it revelate itself / Upon the congregations of so called righteousness”), its relentless riffs and a morbid feeling of hopelessness to close the album.

In summary, the doomed Black Metal crafted by Serpents Lair at their unhallowed den undoubtedly deserves a shot, in special if you’re one of those metallers who can only live in darkness to survive the downfall of our putrescent society. With that said, you can listen to their music on their YouTube channel, and find Circumambulating the Stillborn for sale at their BandCamp page, at the Fallen Empire Records webstore (US) or at the Duplicate Records webstore (Europe). Just go for it if you have the guts.

Best moments of the album: Circumambulating the Stillborn and The Serpentine Gnosis.

Worst moments of the album: None.

Released in 2015 Hellthrasher Productions/Fallen Empire Records/Duplicate Records

Track listing
1. Epipháneia 1:30
2. Epistemology of Death 9:22
3. Circumambulating the Stillborn 5:17
4. Mortui Vivos Docent 8:30
5. The Serpentine Gnosis 8:57
6. Dwelling on the Threshold to Tartarus 2:55
7. Devouring Wrathe 7:04

Band members
*Information not available*